I don't agree with the people who say the ending either made no sense or had no resonance. I felt sad as hell when the film ended, and having the Mamas and Papas (whom I generally loathe) sing "Dedicated to the One I Love" over the end credits just twisted the knife, because all kinds of pathos opened up that I'd…

I'd seen it years ago and rewatched on Sunday — i'd forgotten how "up" the ending was. I almost felt there should have been a reversal of the happy ending the studio tried to tack onto Brazil (and yes, I did notice the poster for it in the video store)—e.g. "Jack's just imagining all this; he's still at Parry's…

Just watched this the other night. Great movie. I'd forgotten the ending and it surprised me, given the way some of Gilliam's other movies went. (I don't want to spoil it for the unshriven).

Other prisoners are clearly in the wrong in their flashbacks. But what Black Cindy lacks is a counterbalance to that. Gloria is scamming food stamps but she's a battered woman, for example. Most of them have that kind of balance in their story, but Cindy doesn't. And yeah, that is refreshing.

I kept waiting for it to be used concretely. Maybe it's just there to add tension—adding the threat of secrets being uncovered by the staff. I don't know. Maybe they'll use it in S3? It did reveal something naively unsavory in Fischer though.

I agree with everything you said except as pertaining to Vee. She's pretty one-note monstrous. Which I'm okay with. Her apparent kindnesses are always shown as also benefiting her. Which makes them manipulative.

Your summary of Fig seems spot on to me. SPOILERS AHOY: She has a failed idealism that she seemingly hasn't even come to terms with yet, leavened for tragic effect by the closeted husband (which is a weird way to play it in such a LGBT friendly show)—but the reveal wasn't as big as it could have been—how could she not…

YES, this. I am willing to overlook the accent mismatch after being confronted with the wonderful, unexpected facial match. There's so much to it—how she sees herself, basically. Sold.

Yeah, I've been struggling with the accent too. <shrug>. That One Scene redeems the whole thing, however.

Normally I would agree, but didn't you sort of keep expecting her to NOT be 100% a vampiric ruthless monster? Because I kept waiting for that moment and waiting for it, and then finally I went, "Oh." And that was actually pretty neat, like realizing you're watching a Japanese gangster movie instead of a Hollywood…

It's a good point: why wouldn't he call them? He'd have good reason to.

I was so waiting for "wherever whores go", but I will settle for the scene as written.

This.

Different people need different things to be entertained…

Kill him and upload him?

I don't think the reveal of the dissolution between Stanton and Kinski is at all 'small and ordinary'. It holds one of Sam Shepard's greatest lines ever, devastatingly simple: